A Year With Daytona

by Elijah Rodriguez

My late introduction to Pusha T came in two forms: the first, in the form of the Kanye created masterpiece My Beautiful Dark Twisted Fantasy and the second, as one of the first concerts I ever attended. Shout out to the sneaker culture of the early 2010’s for providing not only a safe space to hustle but also a place to see entertainment. Yes, I was late to the Virginia raised, one-half of Clipse rapper, dope dealer, and G.O.O.D. Music president, but I was thankful for the introduction nonetheless.

Daytona was prepped to be the sequel or rather the main body of work coming out of King Push - Darkest Before Dawn: The Prelude. Instead, Daytona took on it’s own identity. On top of the album being anticipated for three years, it was the first of the Kanye’s Wyoming produced albums to release. It missed the musical entanglement of June 2018 with its May release, but it set the precedence on every album to release after.

Pusha begins his drug littered album with “If You Know You Know.” The song, and album, is littered with the rappers mentions of a previous lifestyle. According to the man himself, this life sees a younger Push heavily involved in moving crack cocaine. He mentions the risks of the aforementioned moves he made and how they still affect him to the day. But he’s an “alumni” of the kilos, the dancing crack heads, the bricks, and the tennis balls. He’s graduated to legitimacy but “they” still have their eye on him. But he’s already past it, and “if you know, you know.”

Push continues to flaunt his energy over the course of the album while paying homage to the greats of Kanye, Tony Montana, Wu-Tang, and The Lox alike. He discusses the topic of “the games we play.” It’s always been about the “chess” moves and achieving levels of greatness that has no need for the “jewelry on” because at that point he’s “richer than everybody.” It’s a continual flexing. But the flexing fits the lifestyle. There’s no need for a “globe” when “caviar” is your facial remedy. Push is actually that guy.

Push does a hell of a job. His wordplay is phenomenal. His allusions are attractive to the ear. The way he raps is like metal sharpening metal. Everything is precise like a measurement. The addition of Rick Ross cosigning the elevation to the higher plateau is different. Both speak about their success arriving to due to their respective success in the streets. Ross’ wordplay is methodical in comparison to Push’s precision. Ross has his own set of cleverness to the way he raps but its laid back. Whereas Push take shots at the new era of hip-hop culture and how above it he is, Rosary let’s his presence establish itself.

The switch of pace by Kanye plugging in the voices of The Mighty Hannibal and George Jackson is perfectly placed. This switch is not only reminiscent of the era in which they reigned, but also opens up to Push’s reminiscence of the drug world he knew. He speaks of the drug era that hit the DMV area hard with the lines “BMore burnt spoons, DC glass pipe/ VA sent bales, ‘bout that trap life.” The captivating part is that he knows exactly where it all stemmed from. The drug game is a topic all on its own but Push knows that the money made was made to buy more products, flex on the world, and help the community. It’s wild to think that the same guys giving turkeys out for Thanksgiving are the same dudes selling rocks in the neighborhood. All in all, Push is still the same Pusha T from Virginia.

In being from Virginia, the rapper has taken wins and losses. One of which was the loss of a close friend and tour manager. As Push described it in his 2018 Billboard interview, “And me just taking for granted who he was as a person and then, you lose 'em, and you realize what you lose.” The tone of “Santería” itself is unapologetically sad and remorseful. The remembrance and the pain are there. Like all those that grieve, even the blame is there. It’s the most human and largely relatable feeling listeners get out of the album.

Push has always been about letting his talent and rap skills do the talking. He is self-proclaimed at the top of the game. It’s no wonder why Kanye’s backed him. It is also no wonder why he had no problem taking shots at the man at the top of the industry in “Infrared.” The beef with Drake has gone back multiple years, but this was Push’s response to a question of his “authenticity to the streets.” It’s obvious that in his arsenal Push proves that it is not his authenticity to be questioned but rather that of Drake and even Drake’s mentor, Lil Wayne. With mention of ghostwriters and finicky actions on tour, Push has got it. Respect is only given to the likes of J. Cole and Kendrick Lamar. Push sees through the gimmicks and the wave riding tendencies of the Canadian born rapper. He boldly notes that Drake only receives his accolades because of hype. But in terms of content, there is nothing to be seen. It’s all fake, just like the streams.

Over the course of the album Pusha T takes aim at the era of today’s rap world. He is clearly displeased at the game straying away from its substance and instead becoming gimmicky and full of “sock puppets.” He could be wrong or he could be right, but Push has earned his own stripes. Especially with this album. He’s received numerous accolades for Daytona. Every list that came out, ranked the album no lower than top 10 in rap albums of the year. He even was recognized with a nomination at the 61st Grammy Awards. Always remember, he’s still “King Push.”